JULY,  1904 
N  D  • 


PINTORICCHIO 


*E,  15  CENTS 


6^^ 


K*^trlejsiffllusifrateti'^noatap^» 


Jssueililipntljm 


1! 


UC-NRLF 


c  Et.  t.m 


PINT0RIC3CHI0 


PART  55  VOLUME  5 


C\J 

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DECOMTIVE'PAINTING 

JpedaJh/  S)&figncd\ 
CustoTn  durniturc 
Jnterior%od  ^ish 
Sforeign  and  S)om&ftic 

yallfhperj- 

^lufiwVpholfteryJiuffj 

®nipener-Wa/lJmnpin^ 

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UMBRIAN    SCHOOL 


DUa3 


MASTKKS    IX    AHT      I'LATK  I 

PHOTOGRAPH    BY    BRAUN,    CLEMENT    A   CIE 


[->.".] 


335733 


PINTOKIGCHIO 
POHTHAIT  OK  A   HOV 

itorAi,  r.Ai.r.KHY,  uuksjjex 


MASTFHS   IN   AMT      PliATK  H 

PHOTOGRAPH  BY  ALlNAftl 


PIJJ'JOKICC'HIO 

THE  HOLT  KAMI1.Y 

ACADKMY,  SIKAA 


[257] 


MASTKKS    riS'    AKT      PI.ATK  III 

fHOTOQI<AI>H    BV    ALIMARI 


[  ^rA,  ] 


PINTOHICGHIO 

THK  MADONNA  OF  HAS  SEVEKINO 

SAN  SKVEHINO   CATHEDHAL. 


MASTKKS    IX   AKl'      PL-ATK  IV 

PHOTOGRAPH    BY    ALINARI 


[■i.n] 


vintokicghkj 

aknkah  picculomini  on  thk  wat  to  basi>b 

cathp:i)Hal,  liuhakv,  siexa 


MASTKKS    IN  AKT     I'X.ATK  V 

PHOTOGRAPH    BV   ALINARI 
[203] 


PINTOltlGCHlO 

POl'K   i'll'S    II.    AT   ANGO.VA 

CATHKUKAIi  LIBHAHY,   SIKNA 


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*-    "^    p" 

S  a  ^ 


POKTHAIT  OF  PIJfTOHlCCHIO  BT  HIMSELF 
CHUKCH  OF  SAJSTA  MAMA  MAGGIOKK,  SPKJLLO 

This  portrait  was  introduced  by  Pintoricchio  into  his  now  much  injured  fresco  of  '  The 
Annunciation'  in  the  Church  of  Santa  Maria  Maggiore,  Spello,  where  it  figures  as 
a  picture  hanging  on  the  wall  of  the  Virgin's  chamber.  The  blue  background  and 
dark  dress  and  cap  have  been  blistered  bv  dampness ;  the  face,  too,  has  suffered,  but 
the  essential  features  remain  intact,  and  enable  us  to  form  an  idea  of  Pintoricchio' s 
appearance  at  the  age  of  forty-seven. 

[274] 


MASTERS    IN     ART 


^etnarHino  tri  mntrtttto  XH  muQio 


CALLED 


^intovitt^io 


BORN   1454:    DIED  15  13 
UMBRIAN     SCHOOL 


BERNARDINO  DI  BENEDETTO  (or  BETTO)  DI  BIAGIO, 
called  Pintoricchio  (pronounced  Pin-tor-ik'ke-o),  "the  little  painter," 
was  born  in  Perugia  in  the  central  Italian  province  of  Umbria,  in  the  year 
1454.  The  name  by  which  he  is  best  known  was  written  variously  by  his 
contemporaries  and  by  the  painter  himself,  Pentoricchio,  Pinturicchio,  and 
Pintoricchio.  The  latter  form  is  here  adopted  as  being  the  proper  diminutive 
of  the  old  Italian  word  for  painter — pintore. 

So  little  is  known  of  Pintoricchio's  origin  and  youth  that  we  are  for  the 
most  part  left  to  conjecture  the  outlines  of  his  early  history.  His  father, 
Benedetto  di  Biagio,  was  probably  of  humble  station,  and  a  tradition  that  his 
home  was  near  the  Porto  San  Cristoforo,  Perugia,  leads  to  the  inference  that 
Pmtoricchio's  childhood  was  passed  in  his  native  city. 

Certain  qualities  observable  throughout  Pintoricchio's  work  point  to  the 
probability  that  his  artistic  career  was  begun  under  one  of  the  miniature-paint- 
ers of  Perugia,  of  whom  a  flourishing  college  existed  in  that  city  in  the  mid- 
dle of  the  fifteenth  century.  According  to  Vasari,  he  was  at  one  time  as- 
sistant to  Benedetto  Bonfigli,  who  established  a  school  of  painting  in  Peru- 
gia early  in  that  same  century,  and  gave  to  Perugian  art  an  importance  which 
it  had  not  previously  possessed.  In  Pintoricchio's  pictures  we  find  sugges- 
tions which  testify  to  the  probable  truth  of  Vasari's  statement;  but  the  master 
to  whom  he  shows  himself  most  nearly  akin  is  the  Umbrian  painter  Fiorenzo 
di  Lorenzo,  in  whose  works  we  find  the  same  anecdotic  tendencies  which 
characterize  Pintoricchio's — the  same  display  of  picturesque  costumes,  use 
of  architectural  decorations,  and  rock-strewn  landscape  backgrounds. 

But  although  Pintoricchio  probably  owed  his  artistic  inspiration  chiefly  to 
Fiorenzo  di  Lorenzo,  whose  influence,  indeed,  remained  with  him  through- 
out his  career  more  strongly  than  did  that  of  any  other  painter,  his  develop- 

[275] 


24  MASTERS     IN     ART 

ment  is  in  some  measure  due  to  his  contact  with  Pietro  Perugino.  This 
painter,  eight  years  his  senior,  was  one  whose  influence  could  hardly  fail  to 
leave  its  mark  upon  the  younger  man,  who  was  associated  with  him  not  only 
in  their  undertakings  in  the  Sistine  Chapel,  Rome,  but  probably  also  prior  to 
that  time. 

Not  until  1482,  when  Pintoricchio  appeared  in  Rome  as  one  of  that  im- 
mortal company  of  artists  assembled  there  to  decorate  the  walls  of  the  newly 
built  chapel  of  Pope  Sixtus  iv.,  are  we  able  to  follow  with  any  certain  knowl- 
edge the  steps  of  his  career.  Among  the  assistants  of  Perugino,  it  is  recorded, 
was  one  Bernardino  di  Benedetto,  called  Pintoricchio,  and  from  the  impor- 
tant part  he  took  in  his  master's  work  it  seems  probable  that  Perugino  re- 
garded him  as  his  right-hand  man,  making  use  of  several  of  the  younger  art- 
ist's designs  for  figures,  and  even  intrusting  him  with  two  of  the  principal 
wall-paintings,  'The  Journey  of  Moses 'and  'The  Baptism  of  Christ.'  These 
frescos,  probably  Pintoricchio's  first  important  achievement,  established  his 
reputation,  and  henceforth  he  worked  as  an  independent  artist,  himself  em- 
ploving  assistants  and  receiving  numerous  commissions. 

It  is  not  known  what  was  his  next  undertaking,  but  most  authorities  agree 
that  it  was  at  this  period  that  he  decorated  the  Bufalini  Chapel  in  the  Church 
of  Aracoeli,  Rome,  with  frescos  illustrating  scenes  from  the  life  of  St.  Ber- 
nard. He  also  painted  in  the  Colonna  Palace,  and  in  the  Vatican  in  the 
service  of  Innocent  viii.  We  hear  of  him,  too,  as  engaged  with  Perugino  in 
painting  the  interior  of  the  spacious  palace  then  called  Sant'  Apostolo,  now 
the  Collegio  dei  Penitenzieri.  Of  these  works  scarcely  a  vestige  remains. 
Faint  traces  of  heraldic  devices,  garlands,  decorative  designs,  classic  and  myth- 
ological, are  still  dimly  discernible  on  these  old  palace  walls,  but  time  has 
almost  obliterated  paintings  which  four  hundred  years  ago  helped  to  make  the 
name  of  Pintoricchio  famous. 

In  the  Church  of  Santa  Maria  del  Popolo,  Rome,  which  if  its  original  dec- 
orations had  been  preserved  would  be  to-day  a  storehouse  of  the  "little  paint- 
er's "  art,  Pintoricchio,  with  the  help  of  assistants,  decorated  several  chapels 
in  honor  of  different  members  of  the  Rovere  family.  Of  these  the  frescos 
in  only  one — the  Chapel  of  St.  Jerome — can  now  be  attributed  to  his  hand. 

In  1492  he  entered  into  an  agreement  to  paint  two  evangelists  and  two 
Tathers  of  the  Church  in  the  cathedral  at  Orvieto,  the  price  settled  upon 
being  one  hundred  ducats.  To  carry  out  this  commission,  and  at  the  same 
time  attend  to  his  work  in  Rome,  necessitated  much  coming  and  going  be- 
tween the  two  places;  but  the  decorations  in  Orvieto  had  not  advanced  very 
ijirbefore  the  painter  fell  into  a  violent  quarrel  with  the  ecclesiastics,  who 
•deo^K^  that  he  had  not  executed  the  first  part  of  his  work  in  accordance 
with  his  agreement.  Their  real  objection,  however,  seems  to  have  been  that 
Pintoricchio  was  using  an  alarming  quantity  of  gold  and  ultramarine — far 
more  than  the  chapter  could  afford. 

In  consequence  of  this  disagreement  the  work  at  Orvieto  came  to  a  stand- 
still. Pintoricchio  returned  to  Rome,  well  pleased,  no  doubt,  to  do  so,  for  a 
third  pope  had  become  his  patron  there,  the  great  Alexander  vi.,  who,  as 

[276] 


PINTORICCHIO  25 

Cardinal  Borgia,  had  already  shown  him  favor,  and  who  now  commissioned 
him  to  decorate  his  private  apartments  in  the  Palace  of  the  Vatican.  Em- 
ployment at  the  papal  court  was  more  to  Pintoricchio's  taste  than  working 
under  the  watchful  eyes  of  parsimonious  monks;  but  these  same  monks  ap- 
parently made  their  peace  with  him  later,  for  he  seems  to  have  returned  to 
Orvieto  to  complete  the  decorations,  and  it  is  recorded  that  Pope  Alexander 
wrote  to  them  in  March,  1494,  requesting  that  Pintoricchio  be  allowed  to 
come  to  Rome  and  proceed  with  the  work  in  the  Vatican. 

The  decoration  of  these  rooms — known  as  the  Borgia  apartments — was 
one  of  the  most  important  undertakings  of  Pintoricchio's  life.  Assistants 
were  of  necessity  employed,  but  from  the  homogeneous  character  of  the  fres- 
cos as  a  whole  it  is  clear  that  the  master's  supervision  must  have  been  un- 
tiring, and  that  all  individuality  in  his  pupils  was  made  subordinate  to  his 
guiding  influence.  No  contract  for  the  work  has  been  discovered,  so  that 
we  have  no  means  of  knowing  exactly  when  it  was  begun  or  when  finished, 
but  it  is  supposed  to  have  been  completed  when,  early  in  1495,  Pope  Alex- 
ander VI.  was  driven  by  the  invasion  of  Rome  by  the  French  to  leave  the 
Vatican  and  take  refuge  in  the  fortified  Castle  of  Sant'  Angelo.  Thither  Pin- 
toricchio, his  court  painter,  followed  him;  and  when,  in  the  following  sum- 
mer, Alexander  fled  to  Orvieto  and  Perugia,  "the  little  painter"  went;  home- 
wards among  his  master's  followers. 

At  about  this  time,  1495,  the  pope  had  bestowed  upon  Pintoricchio  a  grant 
of  two  pieces  of  land  at  Chiugi,  near  Perugia,  in  return  for  which  an  annual 
payment  of  thirty  baskets  of  grain  was  to  be  made.  This  tax  was  later  com- 
muted, upon  Pintoricchio's  claim  that  it  was  so  heavy  that  it  swallowed  up 
all  the  revenues,  and  the  painter,  who  in  the  deed  is  spoken  of  as  "a  faith- 
ful and  devoted  servant  of  Alexander  and  the  Church,"  was  merely  called 
upon  to  pay  two  pounds  of  white  wax  annually  for  three  years. 

In  July,  1497,  Pintoricchio  was  once  more  in  Rome,  engaged  this  time 
in  frescoing  rooms  in  the  Castle  of  Sant'  Angelo  for  the  pope.  At  the  end 
of  a  year,  however,  he  was  back  in  Perugia  finishing  a  large  altar-piece  for 
the  monks  of  the  Monastery  of  Santa  Maria  dei  Fossi. 

It  is  probable  that  at  about  this  period,  when  he  was  somewhat  over 
forty  years  of  age,  his  marriage  with  Grania,  daughter  of  one  Niccolo  of 
Bologna — or  Modena — took  place;  a  marriage  which  from  contemporary 
accounts  seems  to  have  been  far  from  happy. 

At  the  request  of  Troilo  Baglioni,  Bishop  of  Perugia,  who  desired  that 
Pintoricchio  should  decorate  the  chapel  of  his  house  in  the  Church  of  Santa 
Maria  Maggiore  at  Spello,  the  painter,  early  in  1501,  went  to  that  town, 
some  eighteen  miles  distant  from  Perugia,  to  carry  out  the  wishes  of  his  new 
patron.  Dampness  and  decay  have  sadly  injured  Pintoricchio's  work  in  this 
little  chapel  in  the  Spello  church,  but  enough  remains  of  his  three  frescos 
*The  Annunciation,'  *The  Nativity,'  and  'Christ  Disputing  with  the  Doc- 
tors' to  show  how  great  must  have  been  their  original  beauty. 

Before  leaving  home  to  execute  this  work  in  Spello,  Pintoricchio  was  elected 
Decemvir  of  the  city  of  Perugia,  an  appointment  which  proves  that  he  stood 

[277] 


26  MASTERS    IN    ART 

high  in  the  estimation  of  his  fellow-citizens,  but  which  could  not  have  en- 
tailed upon  him  any  great  amount  of  work,  as  his  continued  absence  from 
home  prevented  the  fulfilment  of  municipal  duties  there;  moreover,  early  in 
1502,  after  a  year's  sojourn  at  Spello,  an  event  occurred  which  materially 
changed  the  course  of  his  life,  involving  as  it  did  his  leaving  Perugia.  This 
was  a  summons  to  Siena  from  Cardinal  Francesco  Piccolomini — afterwards 
Pope  Pius  III. — to  decorate  in  fresco  the  Cathedral  Library  built  there  by  the 
cardinal  in  honor  of  his  uncle,  JEnezs  Sylvius  Piccolomini,  who  before  his 
death,  about  forty  years  prior  to  this  time,  had  been  made  pope  under  the 
title  of  Pius  II. 

Accordingly  Pintoricchio  journeyed  across  the  hills  and  plains  lying  be- 
tween his  old  home  and  the  city  which  was  now  to  be  his  abode,  and  after 
an  elaborate  contract  had  been  drawn  up,  having  gathered  together  a  sufficient 
force  of  workmen  and  assistants,  he  set  to  work  upon  his  task  in  the  spring 
of  1503.  The  subject  assigned  him  was  the  principal  events  in  the  life  of 
JEne^s  Piccolomini;  and  in  accordance  with  the  contract,  the  cartoons,  their 
transference  to  the  walls  of  the  Library,  and  all  the  heads  of  the  figures 
were  to  be  by  Pintoricchio's  own  hand.  In  payment  of  his  services  he  was 
to  receive  one  thousand  gold  ducats,  to  be  paid  in  instalments.  A  house  was 
also  to  be  provided  for  him,  "hard  by  the  cathedral" — his  goods,  movables, 
and  fixtures  being  pledged  as  security  for  the  due  fulfilment  of  the  contract. 

The  work  had  not  advanced  very  far  when  the  death  of  Francesco  Picco- 
lomini, three  weeks  after  his  election  to  the  papacy,  occurred  to  interrupt  its 
progress.  His  will,  however,  provided  for  its  completion  by  his  executors,  so 
that  it  was  not  long  before  Pintoricchio  could  proceed  with  the  decorations. 
In  the  meantime,  feeling  himself  temporarily  absolved  from  his  promise  to 
undertake  no  other  commissions  while  the  decorations  in  the  Library  were 
under  way,  he  turned  his  attention  to  various  other  works. 

No  sooner  had  he  resumed  work  in  the  Library  in  the  following  spring 
than  a  further  interruption  occurred  in  the  death  of  one  of  the  late  pope's 
executors,  and  in  June  of  that  year,  1505,  we  find  Pintoricchio  once  more 
in  Rome,  busily  employed  in  decorating  the  choir  of  the  Church  of  Santa 
Maria  del  Popolo,  the  scene  of  some  of  his  earlier  labors.  At  the  end  of  ten 
months,  however,  he  had  returned  to  Siena  to  continue  work  in  the  Library, 
which  now  progressed  without  further  hindrance,  and  reached  completion  in 
the  year  1508. 

One  more  visit  to  Rome  is  recorded;  made  this  time  in  obedience  to  a 
summons  from  the  then  pope,  Julius  ii.,  at  whose  command  Perugino,  Sig- 
norelli,  Pintoricchio,  and  other  artists  met  together  to  consider  the  decora- 
tion of  the  Vatican  rooms,  eventually  intrusted  to  Raphael. 

Pintoricchio's  last  years  were  spent  in  Siena.  Vasari,  who  is  strangely  un- 
just in  his  estimate  of  the  painter,  gives  the  following  improbable  account  of 
his  death.  "When  he  had  attained  the  age  of  fifty-nine,"  writes  this  biog- 
rapher, "he  received  a  commission  to  paint  a  picture  of  the  'Birth  of  the  Vir- 
gin' for  San  Francesco,  in  Siena,  and  having  commenced  the  work,  a  room 
was  appropriated  to  his  use  by  the  monks,  which  was  given  up  to  him,  as  he  de- 

[278] 


PINTORICCHIO  27 

sired  it  should  be,  entirely  empty  and  denuded  of  everything,  a  massive  old 
chest  alone  excepted;  this  they  left  in  its  place,  finding  it  too  heavy  for  re- 
moval. But  Pintoricchio,  like  a  strange  self-willed  man  as  he  was,  made  so 
much  clamor,  and  repeated  his  outcries  so  often,  that  the  monks  set  them- 
selves at  last,  in  very  desperation,  to  carry  the  chest  away.  Now  in  dragging 
it  forth,  such  was  their  good  fortune  that  one  of  the  sides  was  broken,  when 
a  sum  of  five  hundred  ducats  in  gold  was  brought  to  light.  This  discovery 
caused  Pintoricchio  so  much  vexation,  and  he  took  the  good  fortune  of  those 
poor  friars  so  much  to  heart,  that  he  could  think  of  nothing  else;  and  so  griev- 
ously did  this  oppress  him  that,  not  being  able  to  get  it  out  of  his  thoughts, 
he  finally  died  of  vexation." 

Those  who  knew  Pintoricchio  in  Siena,  however,  make  no  allusion  to  any 
such  occurrence.  The  true  version  of  the  painter's  death  is  far  sadder  than 
Vasari's  legend.  Sigismondo  Tizio,  a  Sienese  historian  and  Pintoricchio's 
friend,  writes  that  when  the  painter  fell  ill,  his  wife  Grania  and  her  lover, 
a  soldier  in  the  Sienese  Guard,  shut  him  up  in  his  house  and  left  him  to  die 
of  hunger  and  neglect;  that  some  women  of  the  neighborhood  heard  his  cries 
and  went  to  his  assistance,  and  it  was  from  them  that  Tizio  afterwards  learned 
the  particulars  of  his  friend's  death. 

Pintoricchio  died  on  the  eleventh  of  December,  1513,  and  was  buried  in 
the  Church  of  San  Vincenzo,  Siena. 

Of  the  painter's  personal  appearance  we  can  form  an  estimate  from  the 
various  portraits  he  has  left  us,  and  from  the  chronicler  Matarazzo's  remark 
that  he  was  "undersized  and  of  insignificant  appearance."  That  he  was  deaf 
we  gather  from  his  nickname  "il  Sordicchio." 


%\)t  9ixt  of  ^tntortccfjto 

EVELYNMARCHPHILLIPPS  'PINTORICCHIO' 

PINTORICCHIO  is  not  one  of  the  most  famous  painters  of  the  Italian 
Renaissance,  and  perhaps  no  painter  who  has  left  us  such  a  mass  of  work, 
and  work  of  such  interest,  has  attracted  so  little  criticism  or  inquiry.  It 
would  be  idle  to  claim  for  him  a  place  in  the  first  rank;  some  may  question 
his  right  to  stand  in  the  second;  in  some  of  the  greatest  essentials  he  will 
not  pass  muster.  It  would  be  absurd  to  claim  for  him  sublime  creative  power, 
tactile  values,  mastery  over  form  and  movement.  He  has  none  of  these. 
His  persons  rarely  stand  firmly  upon  both  feet;  his  pages,  his  kings  and 
queens,  are  too  often  drawn  and  even  colored  like  playing-cards;  his  crowds 
are  motley  and  ill-arranged.  The  dry  and  purely  scientific  student  of  the 
schools  of  Italy  will  find  it  more  than  easy  to  demonstrate  his  shortcomings. 
But  it  is  less  simple  to  analyze  the  charm  that  triumphs  in  spite  of  them,  and 
which  gives  keen  pleasure  to  one  side  of  the  artistic  nature.   .   .   . 

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28  MASTERS    IN    ART 

There  is  in  the  art  of  Pintoricchio  a  direct  simplicity  of  expression  and  ges- 
ture that  saves  him  from  conventionality  and  cloying  sweetness.  His  persons 
are  not  above  criticism  as  far  as  technicalities  are  concerned,  but  they  have  in 
them  this,  that  they  are  occupied  and  absorbed  in  the  business  in  hand.  You 
may  fancy  at  first  that  they  are  artificial,  but  that  is  merely  their  environment; 
they  themselves  are  simple;  they  do  not  pose  or  look  upvi^ards  or  out  of  the  pic- 
ture with  an  aff^ected  appeal  for  admiration.  This  quality  gives  to  Pintoric- 
chio a  truthfulness  where  he  lacks  depth.  To  the  last  he  has  a  sincerity  which 
underlies  his  conventionality,  just  as  his  dainty  care  in  detail  counterbalances 
his  want  of  freedom  and  rhythm.  His  forms  lack  the  nobility  of  Perugino's, 
his  religious  emotion  is  less  deep,  but  he  is  not  self-conscious,  and  he  has  a 
freshness  and  raciness  which  saves  him  from  fatiguing  by  monotonous  sweet- 
ness. He  does  not  make  his  paintings  a  series  of  excuses  for  the  solution  of 
scientific  problems,  so  that  they  are  more  spontaneous,  more  the  outcome 
of  the  man's  natural  unfettered  inclination,  than  are  the  works  of  some  of 
those  who  made  greater  discoveries  in  the  field  of  painting. 

In  the  picturesque  qualities  of  his  work  Pintoricchio  is  completely  a  child 
of  the  Renaissance.  His  feeling,  sumptuous  yet  exquisite,  his  treatment, 
naive  yet  distinguished,  is  the  prerogative  of  that  age  of  fresh  perception,  and 
of  unspoiled  acquaintance  with  the  beautiful.  It  is  the  fairy-tale  spirit  that 
so  endears  him  to  us.  Like  the  medieval  singers  of  romance,  he  guides  us 
through  scenes  that  have  a  glamour  of  some  day  of  childhood,  when  they  may 
have  seemed  real  and  possible.  The  wistful,  wide-eyed  youths,  the  tender, 
dainty  Madonnas  and  angels,  the  grave,  richly -dressed  saints  and  bishops, 
might  all  stand  for  princes,  for  maidens,  and  magicians  in  some  enchanted 
realm  of  fairy.  He  does  not  take  us  into  the  region  of  the  tragic,  but  his 
fancy,  his  invention,  and  resource  are  fertile  and  untiring;  he  leads  us  on, 
dazzling  us,  entertaining  us  with  a  childlike  amusement,  disarming  criticism 
by  a  lovable  quality  which  enlightens  us  as  to  the  natural  sensibility  of  the 
painter's  mind,  a  sort  of  penetrating  sweetness  with  which  he  can  endow  his 
creations.  Perhaps  the  truest  explanation  of  his  charm  is  to  be  found  in  the 
union  of  two  incongruous  elements:  the  artificial  and  mannered  grace,  the 
search  after  the  exquisite  and  the  splendid,  joined  to  the  naive  and  childish 
simplicity,  the  freshness  and  Arcadian  fancy  of  the  Umbrian  school. 

In  his  feeling  for  space  and  for  space-decoration  he  was  a  worthy  follower 
of  Fiorenzo  di  Lorenzo,  the  not  unworthy  second  to  Perugino,  and  a  fore- 
runner of  Raphael.  The  ample  and  spacious  setting  of  his  groups  takes  off 
from  their  cramped  and  crowded  effect.  Where  the  action  is  awkward,  or 
the  color  heavy,  the  whole  spirit  is  lightened  and  lifted  as  you  breathe  the 
air  of  those  delicious  landscapes,  or  wander  in  imagination  under  those  high- 
poised  arcades,  or  look  out  from  a  palace  chamber  at  the  freedom  of  a  moun- 
tain distance.  It  is  the  more  remarkable  that  Pintoricchio  is  able  to  give  us 
this  charm  of  landscape,  as  he  adheres  to  his  early  training,  and  finishes  the 
most  distant  parts  in  delicate  detail. 

It  is  as  a  decorator  that  he  holds  his  own  most  successfully  among  his  con- 
temporaries.   It  soon  became  apparent  that  no  one  could  cover  the  walls  of 

[280] 


PINTORICCHIO  29 

palace  or  chapel  with  an  ornamentation  so  rich  and  so  gay,  so  advantageous 
to  the  position,  so  homogeneous  in  character.  .  .  . 

When  not  painting  fresco,  he  is  constant  to  the  use  of  distemper.  Unfor- 
tunately, he  is  too  much  given  to  sacrifice  the  transparency  and  depth  of  his 
color  by  a  lavish  use  of  retouching  a  secco.  In  order  to  gratify  his  love  for 
brilliancy,  he  produces  an  opaque  surface,  and  is  apt  to  give  us  a  sort  of 
splendid  gaiety  in  exchange  for  real  depth.  His  use  of  his  gorgeous  pigments 
is  extremely  skilful,  especially  towards  his  middle  period.  In  the  Sistine 
Chapel  frescos  he  has  hardly  let  himself  go,  and  in  the  Siena  Library  he  in- 
clines to  be  gaudy  and  glaring;  but  in  many  of  his  scenes  the  greens  and 
peacock-blues,  the  rich,  soft  rose-pinks,  the  purples  and  autumn  gold  are  those 
of  a  man  whose  nature  was  keenly  alive  to  the  joy  of  color.  His  use  of  em- 
bossed gold  is  dictated  by  the  same  natural  bent  towards  the  gay  and  deco- 
rative. This  small,  mean-looking,  deaf  man  was  rarely  sensitive  to  fullness 
of  life,  to  splendor,  and  the  delight  of  the  eye;  and  wherever  he  has  covered 
a  wall  with  his  work,  or  left  a  panel  or  an  altar-piece,  we  get  a  glance  back 
at  an  age  which  was  not  afraid  of  frank  magnificence,  guided  by  a  purer  taste 
than  we  can  boast.   .   .   . 

Although  Pintoricchio's  art  was  so  much  admired  during  his  lifetime,  it  is 
difficult  to  show  that  it  exercised  much  after-influence.  Fascinating  as  it  is 
in  some  ways,  it  represents  the  last  survival  of  a  dying  school.  .  .  .  The 
world  to  which  he  belonged,  the  taste  which  delighted  in  his  creations,  dis- 
appeared with  him,  and  was  replaced  by  an  age  of  conscious  modernism  which 
was  eager  to  sweep  aside  all  that  seemed  archaic  in  the  immediate  past.  The 
thirst  for  knowledge  and  for  scientific  research  was  waxing  intense,  and  the 
craze  for  the  display  of  knowledge  with  its  hidden  seeds  of  decay  soon 
followed.   .   .   . 

Down  to  recent  years  Pintoricchio  was  quite  overlooked  or  treated  with 
contempt.  He  certainly  is  not  able  to  inspire  that  sort  of  interest  that  we 
feel  in  painters  who  worked,  looking  backward  to  see  what  had  been  done, 
and  forward  to  discover  what  yet  remained  to  do.  We  do  not  strive  with 
him  and  triumph  with  him  over  defeated  difficulties.  He  was  a  craftsman, 
as  were  all  artists  worthy  of  the  name  at  that  day,  and  his  work  is  always 
painstaking  and  adequate,  with  nothing  sloppy  or  careless  in  its  execution. 
But  painting  as  a  craft,  with  its  secrets  and  its  possibilities,  was  not  his  first 
object,  so  that,  without  being  able  to  divide  his  work  into  any  distinct  peri- 
ods, we  find  that  his  earlier  life,  when  he  was  still  learning,  was  on  the  whole 
the  time  when  he  was  most  successful  in  the  artistic  sense;  and  in  such 
frescos  as  the  'Journey  of  Moses'  and  the  scenes  from  the  life  of  St.  Ber- 
nard, he  gave  promise  of  an  excellence  which  was  not  afterwards  adequately 
realized.  He  was  an  illustrator,  and  as  such,  perhaps,  never  touched  the  high- 
est side  of  painting.  We  find  in  him  the  natural  tendency  of  a  decorator  who 
undertakes  large  commissions  as  a  matter  of  business,  to  repeat  forms  and 
situations;  yet,  with  every  temptation  to  mechanical  treatment  and  repeti- 
tion, it  is  the  true  artist  in  Pintoricchio  which  saves  him  from  becoming  mon- 
otonous.   To  the  very  last  his  invention  and  fancy  are  alert,  varying  every 

[281] 


30  MASTERS    IN    ART 

accessory,  displaying  a  freshness  and  an  enjoyment  in  his  creations  which  are 
irresistibly  attractive.  In  all  his  illustrations  the  lyric  faculty  is  his.  He  fol- 
lows the  lives,  the  history,  the  fashions  of  his  time  with  minute  persistence, 
but  always  with  some  charms  added  to  prosaic  actuality.  He  is  to  painting 
what  the  ballad-singer  is  to  poetry:  slight,  garrulous,  naive,  infectious,  and 
with  a  haunting  melody  of  his  own. 


BERNHARD     BERENSON        'CENTRAL    ITALIAN    PAINTERS    OF    THE    RENAISSANCE' 

PINTORICCHIO'S  natural  endowments  were  great,  and  his  beginnings 
dazzling  with  promise.  In  the  Sistine  Chapel  he  holds  his  own  with  the 
best  of  the  fifteenth-century  painters,  and  may  be  looked  at  even  alongside 
of  Botticelli.  Gentle  feeling,  lovely  women  and  children,  romantic  landscape, 
clear  arrangement,  splendid  portraiture,  do  their  best  to  absorb  and  please  us. 
As  more  serious  tasks  have  been  carefully  avoided,  there  is  nothing  to  sug- 
gest a  higher  plane  of  artistic  activity.  We  lazily  enjoy  these  frescos  as  so 
much  refined  genre.  And  we  shall  find  the  same  characteristics  in  most  of 
his  earlier  works — all  those  in  Rome  which  he  executed  with  his  own  hand 
and  without  too  much  hurry.  What  lovely  faces  those  of  the  angels  in  the 
Church  of  Aracceli!  What  pretty  women  in  the  Borgia  apartments,  or  in 
Santa  Maria  del  Popolo!  What  splendid  portraits,  what  romantic  landscape 
everywhere!  And,  in  addition  to  all  this,  how  much  of  that  peculiarly  Cen- 
tral Italian  feeling  for  arrangement  and  space! 

But  if  mere  prettiness  pleased  so  well,  why,  then,  the  more  pretty  faces, 
the  more  splendid  costumes  and  romantic  surroundings  per  square  foot,  the 
better!  And  so  Pintoricchio,  never  possessing  much  feeling  for  form  or 
movement,  now,  under  the  pressure  of  favor  and  popularity,  forgot  their  very 
existence,  and  tended  to  make  of  his  work  an  olla podr'ida  rich  and  savory,  but 
more  welcome  to  provincial  palates  than  to  the  few  gourmands.  And  when 
such  an  opulent  and  luxurious  half-barbarian  as  Pope  Alexander  vi.  was  his 
employer,  then  no  spice  nor  condiment  nor  seasoning  was  spared,  and  a  more 
gorgeously  barbaric  blaze  of  embossed  gold  and  priceless  ultramarine  than  in 
the  Borgia  apartments  you  shall  not  soon  see  again ! 

Pintoricchio's  later  work,  seriously  considered,  is  all  tinsel  and  costume- 
painting,  a  reversion  to  the  worst  Umbrian  art  of  the  beginning  of  the  cen- 
tury—  and,  writing  this,  I  do  not  forget  the  famous  frescos  in  the  Cathedral 
Library  at  Siena.  These  frescos,  recounting  the  life  and  adventures  of  the 
great  journalist  and  diplomat,  afterwards  Pope  Pius  ii.,  bring  me  to  the  one 
further  point  I  wish  to  make.  As  figure-painting,  they  scarcely  could  be 
worse.  Not  a  creature  stands  on  his  feet,  not  a  body  exists;  even  the  beauty 
of  his  women's  faces  has,  through  carelessness  and  thoughtless,  constant  repe- 
tition, become  soured;  as  color,  these  frescos  could  hardly  be  gaudier  or 
cheaper.  And  yet  they  have  an  undeniable  charm.  Bad  as  they  are  in  every 
other  way,  they  are  almost  perfect  as  architectonic  decoration.  Pintoricchio 
had  been  given  an  oblong  room  of  no  extraordinary  dimensions;  but  what 
did  he  not  make  of  it!    Under  a  ceiling  daintily  enameled  with  cunninglv 

[282] 


PI  NTORICCHIO  31 

set-in  panels  of  painting,  grand  arches  open  spaciously  on  romantic  land- 
scapes. You  have  a  feeling  of  being  under  shelter,  surrounded  by  all  the 
splendor  that  wealth  and  art  can  contrive,  yet  in  the  open  air — and  that 
open  air  not  boundless,  raw,  but  measured  ofF,  its  immensity  made  manifest 
by  the  arches  which  frame  it,  made  commensurate  with  your  own  inborn 
feeling  for  roominess,  but  improved  upon,  extended,  and  harmonized,  until 
you  feel  that  there  at  last  you  can  breathe  so  that  mere  breathing  shall  be 
music.  Now  it  happens  that  certain  processions,  certain  ceremonies,  rather 
motley,  not  over-impressive,  are  going  on  in  this  enchanted  out-of-doors. 
But  you  are  so  attuned  that  either  you  notice  nothing  unpleasant  at  all,  or 
you  take  it  as  you  would  a  passing  band  of  music  on  a  spring  morning  when 
your  own  pulses  are  dancing. 

The  last  word,  then,  about  Pintoricchio  is  that  he  was  a  great  space-com- 
poserj  even  here  not  the  equal  of  Perugino,  and  not  to  be  admitted  to  the 
inner  sanctuary  where  Raphael  reigns  supreme,  yet  great  enough  to  retain 
in  his  worst  daubs  so  much  of  this  rare,  tonic  quality  that,  if  you  are  not 
over-subtle  in  the  analysis  of  your  enjoyment,  you  will  be  ready  to  swear  that 
these  daubs  are  not  daubs,  but  most  precious  pictures. 


EUGENE    MUNTZ  <HISTOIRE    DE    L'ART    PENDANT    LA    RENAISSANCE 

PINTORICCHIO  delighted  in  the  most  minute  execution,  in  the  rich 
display  of  colors  and  lavish  use  of  ornament.  Fond  of  portraying  scenes 
partaking  of  the  nature  of  "genre,"  keeping  to  the  old  method  of  distemper 
painting,  a  follower  of  Fiorenzo  di  Lorenzo  rather  than  of  Perugino,  it 
seemed,  as  Burckhardt  has  aptly  said,  as  if  his  true  vocation  were  that  of  a 
miniaturist.  Fate  willed  otherwise,  however,  and  he  was  called  upon  to  paint 
a  succession  of  monumental  frescos  equaling  in  number,  if  not  exceeding, 
those  of  the  most  prolific  among  fresco-painters. 

Vasari  has  often  been  censured  for  the  severity  of  his  judgment  of  Pinto- 
ricchio. "Although  he  performed  many  labors,"  he  says  in  his  biography  of 
the  painter,  "and  received  aid  from  many  persons,  Pintoricchio  had  never- 
theless a  much  greater  name  than  was  merited  by  his  works."  The  fact  is 
that  if  Perugino's  pictures  are  often  weak,  lacking  in  freedom,  and  incorrect 
in  drawing,  Pintoricchio's  are  still  weaker;  sometimes,  indeed,  wretched. 
The  harmony  of  proportions,  sweep  of  outlines,  rhythm  of  movement — all 
these  were  alike  unknown  to  him.  What  saves  him  is  the  variety  of  his  pic- 
torial resources,  the  ingenuity  of  his  mise  en  scene — I  dare  not  add  his  skill 
in  grouping,  for  in  Pintoricchio's  grouping  there  is  always  something  coldly 
formal  and  angular.  He  seems  to  be  unable  to  bring  about  any  connection 
between  his  figures,  and  this  for  two  reasons — first,  because  he  never  care- 
fully studied  the  laws  of  composition,  as  Fra  Bartolommeo  and  Raphael  were 
to  do  with  such  success  early  in  the  following  century;  secondly,  because  he 
never  had  a  thorough  understanding  of  the  rules  of  aerial  perspective,  to  a 
knowledge  of  which  Perugino  owed  his  ability  to  conceal  how  slight  was  his 
skill  in  arrangement,  properly  so  called.    Indeed,  Perugino,  not  knowing  how 

[283] 


32  MASTERS    IN    ART 

to  unite  his  figures  by  means  of  gesture,  effect  of  drapery,  or  even  with  the 
help  of  angels  or  cherubim,  did  nevertheless  unite  them  by  enveloping  them 
all  in  the  same  vi^arm,  serene  atmosphere — an  artifice  w^hich  to  the  end  re- 
mained an  insoluble  enigma  to  poor  Pintoricchio. 

As  to  the  expression  of  the  faces  in  Pintoricchio's  works,  it  is  seldom  elo- 
quent or  marked  by  any  lofty  feeling.  His  personages  have  a  peevish,  dis- 
contented, jaded  look.  The  portraits  alone  are  interesting,  and  these  the 
painter  has  introduced  everywhere,  and  with  as  much  skill  as  profusion. 

And  now,  having  shown  that  Pintoricchio's  invention  lacks  distinction,  that 
his  drawing  is  weak  and  incorrect,  and  his  color  crude,  we  are  at  liberty  to  do 
justice  to  his  good  points;  for  his  inferiority  in  many  of  the  qualifications  of 
art  must  not  make  us  unmindful  of  his  very  real  merits;  and  if  Pintoricchio 
was  not  a  great  artist  he  was  certainly  an  entertaining  one,  owing  to  his  real- 
ism, which  led  him  to  introduce  into  the  various  subjects  that  he  painted  in- 
numerable details  illustrative  of  the  manners  and  costumes  of  his  day.   .   .   . 

Perugino  and  Pintoricchio  are  as  widely  separated  as  the  antipodes;  it  would, 
indeed,  be  difficult  to  think  of  a  greater  contrast.  Perugino,  a  true  stylist, 
excels  only  in  the  portrayal  of  calm,  contemplative  scenes;  his  compositions 
contain  but  few  figures,  and  those  are  represented  in  only  the  simplest  atti- 
tudes. There  are  times,  however,  when  he  invests  these  figures,  so  serene 
and  so  unmoved,  with  surprising  warmth  and  feeling.  Pintoricchio,  on  the 
other  hand,  cares  only  for  crowded  and  brilliant  scenes;  the  individual  pos- 
sesses but  slight  interest  for  him;  he  must  have  the  whole  human  race! 
Worldly  by  nature,  he  shrinks  from  any  expression  of  deep  feeling  and  is 
only  at  ease  when  in  the  midst  of  splendid  costumes,  surrounded  by  a  motley 
crowd,  and  in  a  sumptuous  setting.  He  seldom  centers  his  attention  upon 
any  one  figure  or  strives  to  attain  to  any  lofty  idea.  In  Perugino's  pictures 
we  seem  to  hear  the  sublime  accents  of  religion,  whereas  Pintoricchio  enter- 
tains us  with  his  stories,  more  remarkable  for  volubility  than  for  wit.  To 
spend  his  talent  with  lavish  extravagance,  to  amuse,  to  dazzle — that  was  his 
ambition;  and  it  is  one  in  which  he  often  succeeds.  Saltavit  et placuit — he 
danced  and  gave  pleasure. — from  the  French 

EDWIN    HOWLAND    BLASHFIELD  'SCRIBNER'S    MAGAZINE'    1903 

WAS  Pintoricchio  as  great  a  man  as  he  has  been  called  by  some  authors? 
Probably  not.  Has  he  been  overpraised?  Probably  not.  Was  Vasari 
as  unjust  to  him  as  modern  critics  declare?  Probably  not.  Was  Vasari  just 
to  him?  Unquestionably  not.  As  a  draftsman  was  he  skilful?  Not  exactly; 
at  any  rate  not  always  or  even  often,  though  at  times  his  drawing  has  great 
charm  and  now  and  then  a  firmness  quite  foreign  to  his  habit.  Usually  there 
is  an  unsureness,  a  kind  of  poverty  about  his  drawing,  but  it  has  elegance  and 
style  of  its  own,  and  many  of  his  figures  have  that  charm  which  seems  to  hover 
about  the  path  that  leads  from  missal  illumination  to  wall-paintings.  Was  he 
a  colorist?  Yes;  a  master  at  least  of  the  effects  attained  from  colors  if  not 
from  color.  .  .  .  Certain  critics  have  said  much  of  his  landscape  and  its  depth; 
if  it  sometimes  deserves  praise,  it  sometimes  goes  quite  undeserving  and  not 

[2841 


PINTORICCHIO  33 

always  because  of  restoration.  Was  he  a  composer?  By  no  means  in  the  strict 
sense  of  the  word ;  his  groups  are  often  thrown  together  confusedly,  crowded, 
yet  full  of  holes.  But  in  another  sense  of  the  word  "composer,"  as  designer 
and  combiner,  he  was  really  great,  and  here  we  have  reached  and  saluted  the 
crux  of  the  whole  situation.  When  we  praise  the  Borgia  apartments  in  the 
Vatican  as  the  culmination  of  Pintoricchio's  accomplishment,  it  is  the  system 
of  treatment  which  we  praise;  and  the  man  who,  believing  in  that  system, 
loving  it,  indeed  (we  see  this  upon  every  square  yard  of  the  walls),  held  fast 
to  it  just  when  all  others  were  abandoning  it,  and  pushed  it  to  its  ultimate 
expression. 

What  is  the  result  of  these  same  Borgia  apartments?  It  is  delight  of  the 
eye  through  richness  and  splendor  of  color  and  a  sense  that  these  rooms  are 
decorated  perhaps  more  sumptuously  than  any  which  one  has  ever  seen  be- 
fore or  even  imagined.  The  spectator  does  not  trouble  himself  with  the  forms 
upon  the  walls,  he  is  submitting  to  the  enchantment  of  the  effect.  Later  he 
notes  that  the  forms  charm  him  also,  because  if  meager  they  have  elegance, 
and  if  the  individual  figures  are  not  compositionally  related,  the  groups  are. 
Gradually  as  his  lagging  logic  follows  his  quicker  perceptives  he  realizes  that 
this  rich  tangle  of  forms,  not  emphasized  or  focused  unduly,  but  playing  in 
patterns  almost  equally  over  lunettes,  pendentives,  and  vaulting,  is  exactly 
suited  to  this  particular  kind  of  richness  of  color,  and  that  therefore  he  has 
before  him  a  decoration  in  its  own  way  impeccable.   .   .   . 

The  treatment  of  the  Borgia  apartments  is  that  usual  to  fifteenth-century 
decoration  in  fresco,  but  it  is  unusually  developed  in  special  directions  in 
accordance  with  the  predilections  of  Pintoricchio.  The  factor  which  most 
of  all  emphasizes  his  point  of  view  is  that  consisting  in  the  use  of  gold  upon 
objects  modeled  in  relief.  The  early  centuries  loved  gold;  the  holiest  picture 
of  all,  the  altar-piece,  was  all  ablaze  with  gold;  gold  was  a  staple  with  the 
illuminator,  but  upon  the  great  wall-painting  there  could  be  no  such  reckless 
outlay;  not  even  papal  resources  would  have  sufficed;  still  a  good  deal  of 
the  metal  could  be  afforded,  and  it  was  stinted  or  lavished  in  accordance  with 
the  temperament  of  the  artist  and  client.  .   .   . 

A  Leonardo  anatomizing  expression  or  analyzing  light,  a  Michelangelo 
using  the  naked  human  body  as  his  one  supreme,  artistic  means,  a  Raphael 
concentrating  his  thought  upon  rhythm  and  balanced  masses,  may  eschew, 
may  even  avoid,  a  gilded  surface  as  unsuited  to  his  end;  but  a  man  who,  like 
Pintoricchio,  is  thinking  first  of  all  of  achieving  a  general  effect  which,  while 
he  runs  a  gamut  extending  from  elegance  to  splendor,  and  from  brilliancy  to 
depth  and  richness,  shall  yet  be  always  harmonious,  knows  that  he  has  a  re- 
doubtable assistant  in  the  gold,  an  ally  which  will  not  desert  him.  The  gold- 
leaf  or  powder  lights  up  dark  corners,  breaks  his  masses  of  color  as  he  wishes, 
and,  above  all,  exercises  a  powerful  harmonizing  effect  upon  juxtapositions 
of  color  which  would  otherwise  seem  crude.  Pintoricchio  was  a  decorator, 
pure  and  simple,  before  everything  else,  and  he  loved  the  gold.   .   .   . 

And  gold  was  given  to  Pintoricchio  and  used  by  him  with  more  effect  than 
anywhere  else  in  the  history  of  Renaissance  art.    A  poor  composer,  when  it 

[285] 


34  MASTERS    IN    ART 

came  to  making  up  groups  of  figures  he  had  an  immense  sense  of  decorative 
pattern;  so  strong  an  instinct  indeed  for  this  enormously  important  element 
in  decoration  that  wherever  he  has  covered  a  wall-space,  whether  in  Siena, 
Spello,  or  Rome,  he  has  made  that  wall  immediately  delightful  to  even  the 
hastiest  glance.  Symmetry  becomes  even  more  forceful  than  usual  in  his 
hands,  and  by  the  strong  thrust  and  counter-thrust  of  his  little  gilded  gypsum 
thrones  and  temples,  placed  exactly  in  the  centers  of  his  lunettes  and  vault- 
ing spaces,  and  made  far  more  emphatic  by  their  relief  than  are  his  flat  painted 
surfaces,  Pintoricchio,  at  one  and  the  same  time  a  cunning  conjurer  and  a 
true  artist,  doing  the  very  best  with  his  resources,  makes  it  quite  easy  for  the 
spectator  to  overlook  the  poverty  of  his  ordonnance  and  the  openwork  char- 
acter of  his  figure  composition.   .   .   . 

Never  was  there  franker  conventionalism  than  Pintoricchio's;  the  artist 
means  first  that  his  gold  and  relief  shall  mark  out  the  architectonic  distribu- 
tion of  his  general  scheme  of  decoration,  his  main  patterning,  and  for  this, 
as  has  been  said,  he  uses  his  temples,  porticos,  thrones,  pillars — nota  bene, 
nearly  always  background,  or  at  most  middle-ground,  objects.  Next  he  pro- 
poses that  bits  of  gilded  gypsum  shall  spangle  all  his  vacant  spaces  thickly 
enough  to  at  once  enrich  them  and  put  them  into  proper  relation  with  his 
larger  gilded  masses.  He  is  the  most  free-handed  of  decorators  in  this  cheer- 
ful dredging  of  angels  and  people,  mountains  and  plains,  with  fine  plaster  and 
finer  gold,  and  the  angular  movements  of  Fiorenzo  di  Lorenzo's  school  are 
angularized  yet  more  by  stiff  rows  of  large  gilded  buttons  outlining  the  armored 
limbs  of  youthful  soldiers.  In  the  foreground  of  a  lunette,  St.  Barbara,  her 
palms  joined,  her  face  looking  as  though  some  one  had  struck  it  awry,  jostling 
each  feature  a  little  out  of  place,  yet  not  quite  destroying  its  charm,  is  painted 
flatly.  Near  by  a  soldier  is  painted  flatly,  too,  save  for  a  helmet  modeled  in 
relief,  while  another  man  holds  a  scimitar  which  looks  like  a  real  one  half 
embedded  in  the  plaster.  Above  in  the  vaulting,  little  bulls,  little  griffins,  little 
monuments  of  every  sort  and  shape,  jut  from  the  painted  surface,  and  perhaps 
in  the  background  a  tiny  castle  upon  a  mountain  supposed  to  be  miles  away 
sticks  out  in  gilded  relief  like  a  wasp's  nest  against  a  wall  and  takes  its  place  as 
a  foreground  object.  For  Pintoricchio  does  not  care  a  button — certainly  not  a 
gilded  button  —  for  the  atmospheric  relation  of  his  pamted  people  and  things; 
to  this  we  must  get  used,  and  the  adjustment  is  not  difficult,  because  at  first, 
in  these  big  rooms  with  their  multiplication  of  small  forms,  you  do  not  notice 
these  relations  at  all,  but  feel  instead  those  larger  relations  for  which  the  artist 
has  cared  a  very  great  deal — the  relations  of  his  patterns  and  his  colors. 

For  the  superb  result  of  the  decoration  Pintoricchio  is  responsible;  for  the 
execution  of  much  of  the  detail  he  is  not,  save  as  impresario;  many  of  the 
figures  are  ignoble,  far  below  his  lowest  mark;  a  few  of  them  on  the  con- 
trary seem  to  rise  above  his  best  capacity  for  firm  and  correct  drawing.  .  .  . 
The  decoration  of  the  Borgia  apartments  is  a  vast  inter-provincial  patchwork 
where  in  the  same  rooms,  sometimes  even  the  same  lunettes,  Lombards, 
Florentines,  Umbrians,  and  Sienese  have  painted  together  and — all  honor  be 
to  Pintoricchio  as  designer,  decorator,  and  director — have  created  a  harmo- 
nious ensemble.   .   .   . 

[286] 


PINTORICCHIO  35 

But  whoever  may  have  been  the  others  among  Pintoricchio's  assistants, 
there  is  one  whom  we  can  identify  beyond  all  peradventure,  and  who  has  done 
more  for  the  Borgia  rooms  than  Tuscan  or  Lombard  or  Umbrian,  than  has 
Perugino  even.  Hie  coronavlt  opus  and  his  name  is  Time.  The  more  subtle 
color  is,  either  in  its  brilliancy  or  its  depth,  the  less  time  can  do  for  it;  but 
the  stronger  and  more  varied  the  pigments  in  their  juxtaposition  to  gold  or 
silver,  the  more  chance  there  is  for  the  chemistry  of  darkness  and  light,  damp- 
ness and  dryness.  In  all  Europe  elsewhere  it  is  doubtful  whether  lapse  of 
days  has  brought  such  wealth  of  change,  of  patina  veiling  the  crude  and  rec- 
onciling the  antagonistic,  of  red  weathering  into  orange,  blue  running  into 
green,  gold  turning  to  copper,  brass,  verdigris,  or  remaining  gold,  but  of  a 
dozen  different  tonings. 

Close  at  Pintoricchio's  hand  and  painted  but  a  dozen  years  later  are  the 
two  most  famous  cycles  of  frescos  of  all  time,  the  cycles  of  Raphael  and 
Michelangelo.  With  these  he  has  nothing  to  do,  nothing  to  do  with  the  power 
and  loftiness  of  Del  Sarto  in  the  Scalzi  cloister  of  Florence.  Or  if  we  take 
two  master-decorators,  Rubens  and  Tiepolo,  they  are  at  the  antipodes  as  to 
methods,  should  we  compare  them  with  Pintoricchio.  But  there  are  many 
paths  up  Parnassus,  and  some  which  do  not  lead  straight  to  the  very  summit, 
yet  leave  the  pilgrim  at  a  vantage-point  where  he  may  be  seen  and  praised 
of  all  men.  In  their  own  way  the  Borgia  apartments  are  unequaled;  and  the 
candid  critic  admits  that  Pintoricchio,  Pope  Alexander  vi,,  and  Time  have 
among  them  left  to  us  the  richest  and  most  splendid  fresco  decoration  in 
Europe. 


Ci)e  3^orfes  of  ^intortccfjto 

DESCRIPTIONS    OF    THE     PLATES 
'PORTRAIT    OF    A     BOY'  PLATE    I 

MORELLI  regards  this  portrait  of  an  unknown  boy,  now  in  the  Royal 
Gallery,  Dresden,  as  "a  first-rate  work  of  Pintoricchio's  early  period" 
— painted  probably  about  1480.  Charmingly  delicate  in  execution,  it  is  rem- 
iniscent of  Perugino's  manner  in  all  its  freshness.  The  modeling  is  excel- 
lent, and  the  brownish  flesh-tones  and  chestnut  hair  are  admirably  offset  by 
the  blue  cap  and  red  tunic.  The  landscape  background  with  its  slender  trees 
is  in  Perugino's  style. 

The  picture  measures  one  foot  eight  inches  high  by  a  trifle  more  than  a 
foot  wide,  and,  like  all  Pintoricchio's  panel  pictures,  is  painted  in  distemper. 

'THE    HOLY    FAMILY'  PLATE    II 

THIS  picture,  now  in  the  Siena  Academy,  is  an  early  work  of  Pinto- 
ricchio's painted  in  his  most  naive  and  charming  manner.  Mary  and 
Joseph  are  seated  side  by  side  in  a  flowery  meadow.  Joseph  wears  a  blue 
tunic  and  yellow  mantle  flecked  with  gold  and  lined  with  red,  and  holds  a 

[287] 


36  MASTERS    IN    ART 

small  cask  of  wine  and  two  loaves  of  bread.  The  Virgin  is  dressed  in  a  red 
gown,  embroidered  with  gold,  and  a  blue  cloak.  The  two  children — St.  John 
in  his  little  camel's-hair  garment,  and  the  flaxen-haired  Christ-child  in  a  long 
white  robe  brocaded  with  gold — are  represented,  arm-in-arm,  starting  off  with 
book  and  pitcher  as  if  to  play.  The  background  is  delicately  painted;  under 
the  trees  on  the  right  St.  Jerome  in  prayer  and  on  the  left  St.  Francis  are 
dimly  discernible. 

Although  full  of  defects  in  composition  and  in  drawing,  this  picture  is  de- 
lightful in  its  simplicity  and  grace.  It  is  painted  in  distemper  and  measures 
two  feet  nine  inches  in  diameter. 


<THE    MADONNA    OF    SAN    SEVERING'  PLATE    III 

THIS  altar-piece  was  painted  for  the  cathedral  of  the  little  Italian  town 
of  San  Severino,  where  it  still  adorns  the  sacristy.  The  Madonna,  in  a 
rose-colored  dress  and  dark  blue  mantle  lined  with  green,  clasps  the  Child, 
who  stands  on  a  red  cushion  upon  her  knee.  He  is  clad  in  a  gold-embroid- 
ered white  tunic  and  gray  and  gold  drapery.  In  one  hand  he  holds  a  crystal 
globe,  and  with  the  other  blesses  the  donor  of  the  picture,  Liberate  Bartelli, 
who  kneels  before  him  dressed  in  a  scarlet  robe.  Angels,  wearing  garments  rich 
with  gold  and  embroidery,  stand  in  adoring  attitudes  beside  the  Madonna.  A 
landscape  with  hills,  delicately  outlined  trees,  and  a  rocky  archway,  through 
which  a  cavalcade  passes,  forms  the  background,  and  over  all  is  a  soft  twi- 
light glow. 

"If  Pintoricchio  had  continued  to  paint  like  this,"  writes  Dr.  Corrado 
Ricci;  "if  the  vast  quantity  of  decorative  work  which  he  undertook  had  not 
subsequently  made  him  careless  and  sometimes  even  coarse  in  his  technique; 
if,  in  short,  his  art,  having  attained  this  lofty  height,  had  succeeded,  if  not 
in  rising  higher,  at  least  in  maintaining  its  level  of  excellence,  no  Umbrian 
painter,  and  few  among  the  Italians  of  his  time,  would  have  deserved  warmer 
praise  for  grace,  refinement,  and  beauty." 

'SCENES    FROM    THE    LIFE    OF    jENEAS    PICCOLOMINI'  PLATES    IV    AND    V 

BETWEEN  1502  and  1509  Pintoricchio  decorated  in  fresco  the  Library 
of  the  Siena  Cathedral,  where,  in  a  series  of  ten  "histories,"  he  illustrated 
the  chief  events  in  the  life  of  JEnezs  Sylvius  Piccolomini — scholar,  cardinal, 
and  finally  pope.  The  question  as  to  whether  Pintoricchio  was  assisted  in  the 
decorations  of  the  Library  by  Raphael,  then  a  youth  of  twenty,  and,  if  so,  to 
what  extent,  has  long  been  a  subject  of  controversy  among  critics.  While  the 
majority  are  now  agreed  that  Raphael  had  no  hand  in  the  work.  Dr.  Schmar- 
sow,  who  has  devoted  much  study  to  the  question,  is  of  the  opinion  that  in 
the  designs  for  two  or  three  at  least  of  the  frescos  Pintoricchio  was  helped 
by  the  younger  artist — an  opinion  in  which  Miss  Phillipps,  Pintoricchio's 
recent  biographer,  concurs. 

The  first  fresco,  and  one  of  the  most  brilliant  in  its  bright  color  and  lavish 
use  of  gold  ornamentation,  is  reproduced  in  plate  iv.    It  shows  us  i^neas  Pic- 

[288] 


PINTORICCHIO  37 

colomini  when  a  youth  accompanying  Domenico  Capranica,  Bishopof  Fermo, 
to  whom  he  had  been  made  secretary,  on  his  journey  to  the  anti-papal  coun- 
cil of  Basle.  JEneas,  wearing  a  blue  cloak  with  stiff  green  cape  striped  with 
gold,  green  stockings,  yellow  boots,  and  a  large  red  hat,  is  mounted  on  a  white 
horse  in  the  foreground  in  the  midst  of  a  gay  cavalcade.  The  bishop  in  a 
red  robe  and  cap  rides  a  bay  horse  in  front.  In  the  background  is  the  Med- 
iterranean, with  the  town  of  Genoa  rising  on  the  right.  Storm  clouds  are  in 
the  sky,  but  a  rainbow  is  seen,  and  already  the  sun  is  shining  as  the  proces- 
sion advances. 

In  the  second  fresco  ^Eneas  is  received  by  King  James  i.  of  Scotland,  to 
whom  he  had  been  sent  as  envoy.  The  third  shows  us  his  coronation  as 
a  poet  by  the  Emperor  Frederick  iii.  of  Austria.  In  the  fourth  he  pays 
homage  to  the  pope  in  the  emperor's  name.  The  fifth  scene  represents  the 
betrothal  of  Frederick  iii.  and  Eleonora  of  Portugal  at  Siena  by  iEneas, 
then  a  bishop,  who  in  the  sixth  is  created  a  cardinal,  and  in  the  seventh  is 
elected  pope  under  the  title  of  Pius  ii.  The  eighth  scene  shows  him  as  pope 
at  the  diet  of  princes;  in  number  nine  he  canonizes  St.  Catherine  of  Siena. 
The  tenth  and  last  fresco  of  the  series,  'Pope  Pius  ii.  at  Ancona'  (plate  v), 
represents  ^neas,  now  old  and  careworn,  robed  in  white,  with  a  blue  cloak, 
carried  aloft  by  his  followers,  while  Cristoforo  Moro,  Doge  of  Venice,  in  a 
mantle  of  gold  brocade,  and  a  Turk  richly  clad  in  green  and  blue,  kneel  be- 
fore him.  Behind  are  the  town  and  harbor  of  Ancona,  and  in  the  bay  the 
Venetian  fleet  is  waiting  to  bear  Pope  Pius  on  the  crusade  which  he  had  vowed 
to  undertake,  but  which  his  death  on  the  night  after  his  arrival  at  Ancona  pre- 
vented. 

The  effect  of  this  Library,  with  its  mosaic  pavement,  elaborately  decorated 
ceiling,  and  brilliantly  painted  walls,  is  most  striking  in  its  splendor,  and  in 
the  gaiety  of  its  decorative  completeness.  So  fresh  and  bright  are  the  colors 
that  it  seems  impossible  that  these  frescos  were  painted  four  hundred  years 
ago.  "Surely,"  writes  Mr.  Blashfield,  "Pintoricchio  came  down  from  the 
scaffoldings  but  yesterday.  This  is  how  the  hardly  dried  plaster  must  have 
looked  to  pope  and  cardinals  and  princes  when  the  boards  were  removed,  and 
when  the  very  figures  on  these  walls — smart  youths  in  tights  and  slashes, 
bright-robed  scholars,  ecclesiastics  caped  in  ermine,  ladies  with  long  braids 
bound  in  nets  of  silk — crowded  to  see  themselves  embalmed  in  tempera  for 
curious  after-centuries  to  gaze  upon."  Here  Pintoricchio  had  ample  oppor- 
tunity for  the  display  of  all  his  most  characteristic  qualities — for  his  love  of 
pageantry,  of  gorgeous  costumes,  lavish  use  of  gold,  elaborate  decorative  de- 
tails, and  picturesque  effect;  above  all,  for  the  exercise  of  his  gifts  as  one  of 
the  most  entertaining  and  fascinating  story-tellers  of  all  time. 

•THE    DISPUTE    OF    ST.    CATHERINE'  PLATE    VI 

FOR  a  period  of  three  years,  beginning  probably  in  December,  1492,  Pin- 
toricchio was  engaged  in  decorating  for  the  Borgian  pope,  Alexander  vi., 
that  pontiff's  private  rooms  in  the  Vatican  Palace,  Rome.  These  rooms, 
known  as  the  Borgia  apartments,  having  now,  after  centuries  of  neglect, 

[289] 


38  MASTERS     IN    ART 

been  restored  as  far  as  was  possible  to  their  original  magnificence,  were  in 
1897  thrown  open  to  the  public.  Of  the  suite  of  six  rooms,  five  were  decorated 
by  Pintoricchio  and  his  assistants,  but  of  these  only  three — the  Hall  of  Mys- 
teries, the  Hall  of  Saints,  and  the  Hall  of  Arts  and  Sciences — show  to  any 
extent  the  actual  work  of  the  master;  in  the  last  two — the  Hall  of  Creeds 
and  the  Hall  of  Sibyls — the  frescos  are  for  the  most  part  by  inferior  hands, 
though  from  Pintoricchio's  designs. 

Of  the  whole  suite  the  Hall  of  Saints  is  the  most  richly  decorated,  and 
that  in  which  Pintoricchio's  hand  is  most  evident.  Upon  the  walls  are  painted 
scenes  from  sacred  history  and  from  the  lives  of  the  saints;  of  these  the 
largest  and  the  finest,  indeed,  notwithstanding  the  injuries  it  has  sustained, 
the  most  splendid  of  all  Pintoricchio's  frescos,  is  that  reproduced  in  plate  vi, 
representing  'The  Dispute  of  St.  Catherine.' 

In  a  sunny  landscape,  divided  in  the  center  by  a  triumphal  arch,  a  vast 
concourse  of  people  is  gathered  —  philosophers,  courtiers,  Turks,  and  East- 
ern potentates,  with  pages,  and  soldiers,  and  richly  caparisoned  horses — 
the  reds,  blues,  and  greens  of  their  apparel,  heavy  with  gold  embroidery  and 
gleaming  with  jewels,  mingling  in  a  gorgeous  yet  subdued  glow  of  color.  To 
the  left,  seated  on  a  marble  throne,  is  the  Emperor  Maximinus  in  a  robe  that 
glitters  with  gold  ornaments,  listening  to  the  discourse  of  the  youthful  St. 
Catherine  of  Alexandria,  who,  clad  in  a  red  gown  embroidered  in  gold  and 
with  a  long  blue  mantle,  her  fair  hair  falling  over  her  shoulders,  earnestly 
expounds  the  doctrines  of  her  faith. 

Tradition  has  it  that  the  painter  took  for  his  model  for  this  slim,  girlish 
figure,  Lucrezia  Borgia,  the  beautiful  and  dearly  loved  daughter  of  Pope  Al- 
exander, and  that  the  Emperor  Maximinus — though  this  is  extremely  doubt- 
ful— is  a  portrait  of  her  brother,  the  infamous  Cesare  Borgia.  The  man  on 
the  white  horse  (or,  as  some  say,  the  turbaned  man  near  the  throne)  is  Prince 
Djem,  son  of  Sultan  Mahommed  ii.,  who  was  held  as  a  hostage  in  Rome 
at  this  time;  and  at  the  extreme  left,  in  the  slight  figure  beside  the  man  who 
wears  a  gold  chain,  Pintoricchio  has  introduced  his  own  portrait. 

<THE    JOURNEY    OF     MOSES'  PLATE    VII 

THIS  fresco,  formerly  ascribed  by  some  to  Signorelli  and  by  others  to 
Perugino,  who  is  still  believed  by  some  authorities  to  have  executed  cer- 
tain parts  of  it,  is  now  almost  universally  acknowledged  to  be  the  work  of 
Pintoricchio. 

Although  crowded  in  composition  and  wanting  in  concentration,  'The 
Journey  of  Moses'  is  yet  one  of  the  most  attractive  examples  of  the  artist's 
decorative  paintings.  The  subject  is  taken  from  the  fourth  chapter  of  Ex- 
odus, and  illustrates  different  incidents  related  there.  On  the  left,  Moses,  in 
the  traditional  yellow  robe  and  green  mantle,  starting  forth  with  wife,  chil- 
dren, and  attendants  upon  his  journey  into  Egypt,  is  stopped  by  the  com- 
manding figure  of  the  messenger  of  God.  The  white-robed  angel  with  shim- 
mering wings,  standing  in  the  center  of  the  foreground,  divides  this  group 

[290] 


PINTORICCHIO  39 

from  the  one  on  the  right,  where  the  ceremony  of  circumcision,  in  obedi- 
ence to  divine  command,  takes  place. 

In  the  middle  distance,  Jethro  and  his  household  are  taking  leave  of  Moses 
before  his  departure  from  the  land  of  Israel,  and  at  the  left,  shepherds  dance 
in  an  open  meadow.  The  landscape  background  with  its  low  purple  hills 
and  verdant  valleys,  its  masses  of  rocks,  dark  palms  and  cypresses,  and  little 
bushy  trees — all  reminiscent  of  Pintoricchio's  early  master,  P'iorenzo  di  Lo- 
renzo— is  one  of  the  loveliest  seen  in  Umbrian  art  up  to  this  time;  and  al- 
though frequent  cleanings  and  restorations  have  damaged  the  colors  so  that 
the  general  effect  is  now  somewhat  dim  and  faded,  enough  of  the  original 
beauty  remains  to  show  that  this  is  one  of  Pintoricchio's  greatest  works. 

♦  THE     RETURN    OF    ULYSSES*  \  PLATE    VIII 

PINTORICCHIO'S  last  frescos  were  three  classic  subjects  painted  for 
the  palace  of  Pandolfo  Petrucci  at  Siena.  Of  these  'The  Return  of  Ulys- 
ses' is  the  only  one  which  still  exists.  It  has  been  transferred  from  the  wall 
to  canvas,  and  is  now  in  the  National  Gallery,  London. 

According  to  the  story  as  told  in  Homer's  'Odyssey,'  Penelope,  wife  of 
the  Greek  hero,  Ulysses,  being  beset  during  the  long  absence  of  her  husband 
by  numerous  suitors,  declared  that  before  she  would  accept  any  one  of  them 
she  must  finish  weaving  a  long  robe  for  Laertes,  her  aged  father-in-law,  and 
that  her  decision  might  be  indefinitely  postponed  she  unraveled  each  night 
what  she  had  woven  by  day — a  stratagem  which  was  finally  revealed  by  her 
servants,  whereupon  she  was  beset  by  her  lovers  even  more  than  before.  After 
an  absence  of  twenty  years,  however,  Ulysses  returned,  slew  the  importunate 
suitors,  and  put  an  end  to  her  grief  and  perplexity. 

In  Pintoricchio's  fresco  Penelope  is  seated  at  her  loom.  Her  maid  sits  be- 
side her,  and  above,  on  the  wall,  hangs  the  famous  bow  of  Ulysses  which  he 
alone  could  bend.  Engaged  in  her  daily  task,  Penelope  is  surprised  by  the 
entrance  of  the  suitors  eagerly  pressing  forward  to  urge  their  claims,  uncon- 
scious of  the  presence  of  Ulysses,  who,  disguised  as  a  beggar,  appears  in  the 
doorway.  Through  the  open  window  his  galley  is  seen  with  the  hero  him- 
self bound  to  the  mast  to  prevent  his  being  enticed  by  the  songs  of  the  sirens 
sporting  in  the  blue  waves,  while  on  the  shore  close  at  hand  rises  the  en- 
chanted palace  of  Circe. 

"The  painting  in  this  fresco,"  writes  Miss  Phillipps,  "is  rough  and  slight; 
the  figures  have  little  modeling,  but  are  almost  like  patterns  upon  the  back- 
ground; the  limbs  of  the  suitors  are  unstructural  even  for  Pintoricchio,  yet 
the  whole  effect  is  charming.  .  .  .  Here  the  artist  is  once  more  fresh  and 
unconventional,  and  fertile  in  his  fancy.  The  attitudes  and  relations  of  the 
figures  are  full  of  originality,  and  the  uncompromising  square  of  the  win- 
dow lets  in  a  flood  of  light  upon  the  foreground  so  full  of  movement." 

The  fresco  measures  about  four  feet  high  by  four  feet  nine  inches  wide. 


[291] 


40  MASTERS    IN    ART 

•THEFUNERALOFST. BERNARD'  PLATEIX 

IT  was  probably  soon  after  he  had  completed  his  paintings  in  the  Sistine 
Chapel  that  Pintoricchio  decorated  in  fresco  the  little  Gothic  chapel  of 
the  Bufalini  family,  in  the  Church  of  Santa  Maria  in  Aracoeli,  Rome,  This 
work  ranks  among  his  most  important  achievements.  Upon  the  walls,  framed 
in  by  decorative  designs,  are  painted  scenes  from  the  life  of  St.  Bernard,  of 
which  the  one  reproduced  in  plate  ix  is  generally  conceded  to  be  the  finest. 

In  a  marble-paved  city  square,  where  arcades  on  either  side  lead  up  to  a 
temple  with  a  gilded  dome,  the  peaceful  figure  of  the  dead  saint,  dressed 
in  the  white  habit  of  his  order,  and  with  his  head  resting  upon  a  red  pillow, 
is  extended  upon  a  bier  covered  with  a  green  cloth.  Monks  in  prayer  are 
gathered  around  him,  and«groups  of  men,  women,  and  children,  prominent 
among  whom  are  a  fair-haired  boy  on  the  right,  dressed  in  red,  and  beside 
him  a  young  man  in  a  long  pink  robe — both  members  of  the  Bufalini  family. 
On  the  left,  preceded  by  a  page  bearing  his  sword,  is  the  stately  figure  of  the 
donor,  Lodovico  Bufalini,  wearing  a  flowing  gown  of  yellow  brocade  with 
ermine-bordered  sleeves,  and  a  close-fitting  red  cap.  In  the  extreme  fore- 
ground of  the  picture  Pintoricchio  has  placed  two  children  playing  together, 
and  near  them,  a  baby  in  swaddling-clothes  lying  in  a  sort  of  basket.  This 
little  object,  "stuck  in  as  an  afterthought,  without  meaning,  and  without  per- 
spective," is  probably  intended  to  represent  the  miraculous  Santo  Bambino, 
or  Holy  Child,  of  Aracoeli,  an  image  still  preserved  in  the  church  and  held 
in  the  highest  veneration. 

"The  grouping  in  this  fresco,"  writes  Miss  Phillipps,  "is  more  success- 
ful than  usual  with  Pintoricchio,  and  the  light  and  shade  are  more  massed. 
The  effect  of  aerial  space  is  very  remarkable.  The  people  gather  round,  life 
goes  its  way,  and  the  whole  is  set  in  so  peaceful  and  spirit-lifting  an  environ- 
ment that  it  does  not  need  the  little  sky  episode  of  the  saint  received  in  glory 
to  give  it  spirituality." 

'ARITHMETIC  PLATE    X 

THIS  emblematic  figure  of  'Arithmetic,'  holding  a  compass  and  the  Pyth- 
agorean tables,  is  one  of  a  series  of  seven  frescos  similar  in  design  painted 
on  the  walls  of  that  one  of  the  Borgia  rooms  in  the  Vatican  Palace,  Rome, 
which  is  known  as  the  Hall  of  Arts  and  Sciences.  Although  less  rich  in  dec- 
orative effect  than  the  Hall  of  Saints  (see  the  description  of  plate  vi),  and  in- 
jured in  many  parts  by  dampness  and  restoration,  this  room,  probably  the 
study  of  Pope  Alexander  vi.,  is  yet  very  beautiful  in  the  harmony  of  its  col- 
oring and  the  homogeneity  of  its  scheme  of  decoration.  The  ceiling  is  pro- 
fusely ornamented  with  heraldic  devices;  everywhere  the  gilded  Borgian  bull 
and  the  golden  crown  with  radiating  sun-rays  modeled  in  high  relief  shine 
forth  upon  a  dark  blue  ground.  In  lunettes  upon  the  walls,  the  arts  and  sci- 
ences—  Rhetoric,  Geometry,  Arithmetic,  Music,  Astrology,  Grammar,  and 
Dialectics — are  personified  by  figures  seated  upon  high-backed  thrones  and 
surrounded  by  their  devotees. 

[292] 


PINTORICCHIO  41 

"None  of  the  seven  sisters,"  writes  Miss  Phillipps,  "is  so  beautiful  as 
'Arithmetic'  Here  Pintoricchio  trusts  his  own  inspiration,  and  we  have  a 
finely-drawn  head  with  all  his  freshness  of  pose  and  expression.  This  dreamy 
face,  with  its  transparent  veil  half  covering  the  flowing  hair,  the  gold  em- 
bossed robe,  over-sleeves,  mantle  hanging  in  softly  accentuated  folds,  and  the 
beautifully  proportioned  figures  standing  by,  have  a  larger  share  than  almost 
any  other  of  the  lunettes  of  the  master's  hand,  and  here,  more  than  in  any, 
we  have  the  many  colored  garments,  rich  pinks,  harmonious  greens,  that  Pin- 
toricchio loved." 

A    LIST    OF    THE    PRINCIPAL    PAINTINGS    BY    PINTORICCHIO, 
WITH    THEIR    PRESENT    LOCATIONS 

ENGLAND.  Cambridge,  FiTZWiLLiAM  Museum:  Madonna  and  Child  —  London, 
National  Gallery:  St.  Catherine;  Madonna  and  Child;  The  Return  of  Ulysses 
(fresco)  (Plate  viii)  —  GERMANY.  Berlin  Gallery:  Reliquary,  with  Three  Saints — 
Dresden,  Royal  Gallery:  Portrait  of  a  Boy  (Plate  i) — ITALY.  Milan,  Borromeo 
Palace:  Christ  bearing  the  Cross  —  Milan,  Owned  by  Prince  Pio  of  Savoy:  Madonna 
—  Milan,  Owned  by  Marchese  Visconti-Venosta:  Painted  Crucifix  —  Naples  Mu- 
seum: Assumption  of  the  Virgin  —  Perugia  Gallery:  Ahar-piece  of  Santa  Maria 
dei  Fossi;  St.  Augustine  and  Members  of  his  Confraternity — Rome,  Capitoline  Gal- 
lery: Madonna  and  Angels  (fresco)  —  Rome,  Castle  of  Sant'  Angelo:  Fragments  of 
frescos  —  Rome,  Church  of  Aracceli,  Bufalini  Chapel:  (frescos)  Scenes  from  the  Life 
of  St.  Bernard  (see  plate  ix);  Evangelists;  Decorative  Frescos — Rome,  Church  of  Santa 
Maria  del  Popolo,  Chapel  of  St.  Jerome:  (frescos)  Nativity;  Scenes  from  the  Life 
of  St. Jerome.  [Choir]  Ceiling  Frescos  —  Rome,  Colonna  Palace:  Decorative  Frescos 
in  Spandrels  —  Rome,  Collegxo  dei  Penitenzieri:  Fragments  of  frescos — Rome,  Vat- 
ican, The  Belvedere:  Fragments  of  frescos — Rome,  Vatican,  Borgia  Apartments 
(frescos):^  [Hall  of  Mysteries]  Annunciation;  Nativity;  Adoration;  Ascension;  De- 
scent of  Holy  Spirit;  Assumption;  Resurrection.  [Ceiling]  Evangelists  and  Prophets. 
[Hall  of  Saints]  Madonna  and  Child;  Susanna;  St.  Barbara;  St.  Anthony  and  St  Paul; 
St.  Sebastian;  Dispute  of  St.  Catherine  (Plate  vi);  Visitation.  [Ceiling]  Story  of  Osiris 
and  Isis.  [Hall  of  Arts  and  Sciences]  Rhetoric;  Geometry;  Arithmetic  (Plate  x); 
Music;  Astrology;  Grammar;  Dialectics.  [Hall  of  Creeds]  The  Prophets.  [Hall  of 
Sibyls]  The  Sibyls — Rome,  Vatican  Gallery:  Coronation  of  the  Virgin  —  Rome, 
Vatican,  Sistine  Chapel:  Journey  of  Moses  (fresco)  (Plate  vii);  Baptism  of  Christ 
(fresco) — San  Gimignano,  Palazzo  Pubblico:  Madonna  in  Glory — San  Severino, 
Cathedral:  The  Madonna  of  San  Severino  (Plate  iii) — Siena,  Academy:  Holy  Fam- 
ily (Plate  ii)  —  Siena  Cathedral,  Chapel  of  San  Giovanni:  (frescos)  Birth  of  St. 
John;  Portrait  of  Alberto  Aringhieri;  A  Knight  of  St.  John — Siena  Cathedral,  Li- 
brary: (frescos)  Ten  Scenes  from  the  Life  of  JEnezs  Sylvius  Piccolomini  (see  plates  iv 
and  V).  [Over  Entrance]  Coronation  of  Pius  iii. — Spello,  Church  of  Santa 
Maria  Maggiore:  Madonna  (fresco).  [Baglioni  Chapel]  (frescos)  Annunciation; 
Adorationof  Magi;  Christ  among  the  Doctors.  [Sacristy]  Madonna.  [Old  Sacristy] 
Fresco  of  an  Angel — Spello,  Church  of  Sant'  Andrea:  Madonna  Enthroned;  Saints 
and  Angels  —  Spello,  Church  of  San  Girolamo,  Cloister  Chapel:  Adoration  of 
Shepherds;  Nativity  (fresco)  —  Spoleto  Cathedral,  Eroli  Chapel:  (frescos)  Madonna 
and  Saints;  God  the  Father  and  Angels;  Dead  Christ  —  SPAIN.  Valencia  Academy: 
Madonna  and  Child. 

^  The  frescos  in  these  apartments  are  in  great  part  by  Pintoricchio  himself,  and  were  all  done  from  his 
designs. 


[293] 


42  MASTERS    IN    ART 

^intortcc|)to  3Btbliograpi)5 

A    LIST     OF      THE    PRINCIPAL    BOOKS    AND     MACJAZINE    ARTICLES 
DEALING    WITH    PINTORICCHIO 

THE  important  general  studies  of  the  life  and  works  of  Pintoricchio  are  by  Evelyn  March 
Phillipps  (London,  1901),  by  Corrado  Ricci,  translated  from  the  Italian  by  Florence  Sim- 
monds  (London,  1902),  and  by  Ernst  Steinmann  (Leipsic,  1898J.  For  specific  studies  of 
his  frescos  in  Rome,  Siena,  and  in  Spello,  the  writings  of  Schmarsow,  Layard,  and  Ehrle 
and  Stevenson  are  notable. 

ALEXANDRE,  A.  Histoire  populaire  de  la  peinture:  ecole  italienne.  Paris  [1894]  — 
..  Berenson,  B.  Central  Italian  Painters  of  the  Renaissance.  London,  1902  —  Blanc, 
C.  Histoire  des  peintres  de  toutes  lesecoles:  ecole  ombrienne  et  romaine.  Paris,  1870  — 
Blashfield,  E.  H.  and  E.  W.  Italian  Cities.  New  York,  1901  — Bourget,  P.  Sen- 
sations d'ltalie.  Paris,  1891 — Boyer  d'Agen,  A.  J.  Le  Peintre  des  Borgia.  Paris, 
1 901 — Burckhardt,  J.  Der  Cicerone.  Leipsic,  1898  —  Crowe,  J.  A.,  and  Caval- 
CASELLE,  G.  B.  History  of  Painting  in  Italy.  London,  1866  —  Destree,  J.  Notes  sur 
les  primitifs  Italiens.  Brussels,  1900  —  Eh  RLE,  F.,  and  Stevenson,  E.  Gli  afFreschi  del 
Pinturicchio  neir  Appartamento  Borgia.  Rome,  1897  —  KiTCHiN,  G.  W.  Life  of  Pope 
Pius  II.  as  illustrated  by  Pinturicchio' s  Frescos.  London,  1881 — Kugler,  F.  Italian 
Schools  of  Painting.  Revised  by  A.  H.  Layard.  London,  1900  —  Lafenestre,  G.  La 
Peinture  italienne.  Paris  [1885] — Lafenestre,  G.,  and  Richtenberger,  E.  La  Pein- 
ture en  Europe:  Rome,  le  Vatican  et  les  eglises.  Paris,  1903 — Layard,  A.  H.  Frescos 
by  Pinturicchio  in  the  Church  of  8.  Maria  Maggiore  at  Spello.  London  [1858]  — Lupa- 
telli,  a.  Storia  della  pittura  in  Perugia.  Foligno,  1895  —  Mariotti,  A.  Lettere  pit- 
toriche  perugine.  Perugia,  1788  —  Middleton,  J.  H.  Pinturicchio  (in  Encyclopaedia 
Britannica).  Edinburgh,  1883  —  Milanesi,  G.  Documenti  per  la  storia  dell'  arte  senese, 
Siena,  1854-56  —  Morelli,  G.  Italian  Masters  in  German  Galleries.  Trans,  by  Louise 
M.  Richter.  London,  1883  —  Muntz,  E.  Les  Arts  a  la  cour  des  papes.  Paris,  1898  — 
MiJNTZ,  E.  Histoire  de  I'art  pendant  la  Renaissance.  Paris,  1891 — Pascoli,  L.  Vite 
de'  pittori  perugini.  Rome,  1732  —  Phillipps,  E.  M.  Pintoricchio.  London,  1901  — 
Potter,  M.  K.  The  Art  of  the  Vatican.  Boston,  1903 — Ricci,  C.  Pintoricchio,  his 
life,  work,  and  time.  From  the  Italian  by  Florence  Simmonds.  London,  1902  —  Rio, 
A,  F.  De  I'art  chretien.  Paris,  1861 — Rumohr,  C.  F.  v.  Italienische  Forschungen. 
Berlin,  1827-31 — Schmarsow,  A.  Raphael  und  Pinturicchio  in  Siena.  Stuttgart,  1880 
—  Schmarsow,  A.  Pinturicchio  in  Rom.  Stuttgart,  1883  —  Steinmann,  E.  Pintu- 
ricchio. Leipsic,  1898 — Steinmann,  E.  Rom  in  der  Renaissance.  Leipsic,  1902  — 
Symonds,  J.  A.  Renaissance  in  Italy.  London,  1897  —  Urbini,  G.  Le  opere  d'arte  di 
Spello.  Rome,  1898  —  Vasari,  G.  Le  vite  de'  piu  eccellenti  pittoire,  etc.  Edited  by  G. 
Milanesi.  Florence,  1878  —  Vasari,  G.  Lives  of  the  Painters.  Edited  by  E.  H.  and 
E.  W.  Blashfield  and  A.  A.  Hopkins.  New  York,  1897  —  Vermiglioli,  G.  B.  Di 
Bernardino  Pinturicchio,  Memorie.  Perugia,  1837  —  Volpini,  S.  L' appartamento  Borgia 
nel  Vaticano.    Rome,  1887. 

magazine  articles 

ARCHIVIO  STORico  dell'  arte,  1890:  Bernardino  Pinturicchio,  nuovi  documenti  — 
i-L'Archivio  STORICO  ITALIAN©,  1851:  Cronaca  di  Perugia  dal  1492  al  1503  — 
L'Arte,  1898:  A.  Venturi;  Disegni  del  Pinturicchio  per  I'appartamento  Borgia  —  Jahr- 
BUCH  der  Preussischen  Kunstsammlungen,  1880:  H.  Grimm;  Zur  Entstehung  des 
Breviarium  Grimani.  1881:  A.  Schmarsow;  Der  Eintritt  der  Grotesken  in  die  Dekora- 
tion  der  italienischen  Renaissance.  1899:  F.  WickhofF;  Uber  einige  italienische  Zeich- 
nungen  im  British  Museum  —  Revue  des  Deux  Mondes,  1870:  E.  Montegut;  Impres- 
sions de  voyage  et  d'art  (part  111)  —  Scribner's  Magazine,  1903:  E.  H.  Blashfield;  The 
Rehabilitation  of  Pinturicchio. 

[294] 


MASTERS    IN    ART 


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Satisfaction  guaranteed.  Parties  order- 
ing these  Reflectors  need  not  hesitate 
Nos.  7034,  7035  to  return  them  at  our  expense  if  not 
Pat.  Dec.  14,  '97  found  satisfactory. 

I.  P.  PRINK,  55 1  Pearl  St.,  New  York  City 

GEO.  FRINK  SPENCER,  Manager 
Telephone,  860  Franklin 


A  partial  list  of  the  artists  to  be  considered  in  '  Masters  in  Art' 
during  the  forthcoming,  1904,  Volume  will  be  found  on  another 
page  of  this  issue.  The  numbers  which  have  already  appeared 
in  1904  are  : 

Part  49,  JANUARY         .         .         FRA  BARTOLOMMEO 

Part  50,  FEBRUARY 

Part  SI,  MARCH      . 

Part  52,  APRIL 

Part  55,  MAY 

Part  54,  JUNE 

PART     56,     THE     ISSUE     FOR 

august 

WILL  TREAT  OF 

%\%  33rotijers  l^an  Cpcfe 


GREUZE 

DURER'S  ENGRAVINGS 

LOTTO 

.     LANDSEER 

VERMEER  OF  DELFT 


NUMBERS   ISSUED   IN   PREVIOUS  VOLUMES 
OF  'MASTERS  IN  ART' 


VOL.  1. 


Part  i 
Part  i 
Part  3 
Part  4. 
Part  5 
Part  6 
Part  7 
Part  8 
Part  9 
Part  10, 
Part  11 
Part  12 


-VAN  DYCK 

-TITIAN 

-VELASQUEZ 

-HOLBEIN 

-BOTTICELLI 

-REMBRANDT 

-REYNOLDS 

-MILLET 

-GIO.  BELLINI 

-MURILLO 

-HALS 

-RAPHAEL 

*Sculfturi 


VOL.  2. 

Part  13.— RUBENS 
Part  14.— DA  VINCI 
Part  15— DURER 
Part  16.— MICHELANGELO* 
Part  17.— MICHELANGELOf 
Part  18.— COROT 
Part  19.— BURNE-JONES 
Part  20.— TER  BORCH 
Part  21.— DELLA  ROBBIA 
Part  22.— DEL  SARTO 
Part  2}.— GAINSBOROUGH 
Part  24.— CORREGGIO 
^Painting 


VOL.  3. 

Part  25.— PHIDIAS  Part  31.— PAUL  POTTER 

PART26.— PERUGINO  Part  32.— GIOTTO 

Part  27.— HOLBEIN  g  Part  }}.— PRAXITELES 

Part  28.— TINTORETTO  Part  34.— HOGARTH 

Part  29.  — PIETER  de  HOOCH  Part  3;.— TURNER 

Part  30.— NATTIER  Part  36.— LUINI 
§  Drawings 


VOL.  4. 


Part  37, 
Part  38, 
Part  39, 
Part  40, 
Part  41, 
Part  42, 
Part  43, 
Part  44, 
Part  45, 
Part  46, 
Part  47, 
Part  48, 


JANUARY 

FEBRUARY 

MARCH 

APRIL       . 

MAY 

JUNE 

JULY 

AUGUST 

SEPTEMBER 

OCTOBER 

NOVEMBER 

DECEMBER 


ROMNEY 

.    FRA   ANGELICO 

.     WATTEAU 

RAPHAEL'S  FRESCOS 

DONATELLO 

GERARD   DOU 

CARPACCIO 

ROSA  BONHEUR 

GUIDO  RENI 

PUVIS  DE  CHAVANNES 

GIORGIONE 

ROSSETTI 


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PIANOS 


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with  the  sweetness  and  qual- 
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